{"id":157,"date":"2026-05-25T18:54:00","date_gmt":"2026-05-25T18:54:00","guid":{"rendered":"https:\/\/cemalkara.com\/index.php\/2026\/05\/25\/leo-strauss-uzerine-bir-dusunme\/"},"modified":"2026-05-25T18:54:00","modified_gmt":"2026-05-25T18:54:00","slug":"leo-strauss-uzerine-bir-dusunme","status":"publish","type":"post","link":"https:\/\/cemalkara.com\/index.php\/2026\/05\/25\/leo-strauss-uzerine-bir-dusunme\/","title":{"rendered":"Leo Strauss \u00fczerine bir d\u00fc\u015f\u00fcnme"},"content":{"rendered":"
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Leo Strauss\u2019un Persecution and the Art of Writing kitab\u0131, ilk bak\u0131\u015fta \u201cbask\u0131 d\u00f6nemlerinde filozoflar nas\u0131l yazd\u0131?\u201d sorusunu ele al\u0131yor gibi g\u00f6r\u00fcn\u00fcr. <\/span><\/p>\n

Ama metne biraz yakla\u015ft\u0131\u011f\u0131m\u0131zda, meselenin yaln\u0131zca sans\u00fcr olmad\u0131\u011f\u0131 fark edilir. Strauss\u2019un as\u0131l derdi, d\u00fc\u015f\u00fcncenin kendini korumak i\u00e7in nas\u0131l iki katmanl\u0131 bir dille konu\u015ftu\u011fudur: g\u00f6zle g\u00f6r\u00fclen c\u00fcmleler ve onlar\u0131n alt\u0131nda sakl\u0131, sadece dikkatli okura \u00e7arpan o ba\u015fka titre\u015fim.<\/span><\/p>\n

Kitap, felsefe ile siyaset aras\u0131ndaki gerilimin tam i\u00e7inden konu\u015fur. Chicago \u00dcniversitesi yay\u0131n\u0131, eserin merkezindeki sorunu a\u00e7\u0131k bi\u00e7imde \u015f\u00f6yle \u00f6zetler: Kitaptaki metinler, felsefe ile politika aras\u0131ndaki ili\u015fki etraf\u0131nda d\u00f6ner; Strauss\u2019a g\u00f6re bir\u00e7ok filozof, \u00f6zellikle de siyasal filozoflar, zul\u00fcm tehdidi alt\u0131nda en ayk\u0131r\u0131 d\u00fc\u015f\u00fcncelerini metnin i\u00e7ine gizleyerek yazm\u0131\u015ft\u0131r.<\/span><\/p>\n<\/div>\n

Strauss burada bize basit bir hileden s\u00f6z etmez. Filozof korktu\u011fu i\u00e7in yalan s\u00f6ylemez; hakikati ta\u015f\u0131yabilece\u011fi bir kap arar. A\u00e7\u0131k\u00e7a s\u00f6ylenen s\u00f6z, bazen hakikati kurtarmaz; onu hemen avc\u0131n\u0131n \u00f6n\u00fcne b\u0131rak\u0131r. Bu y\u00fczden baz\u0131 metinlerde as\u0131l anlam, c\u00fcmlenin \u00fcst\u00fcnde de\u011fil, c\u00fcmlenin davran\u0131\u015f\u0131nda durur. Bir tekrar, bir \u00e7eli\u015fki, gereksiz gibi g\u00f6r\u00fcnen bir vurgu, fazla sessiz b\u0131rak\u0131lm\u0131\u015f bir yer… Bunlar yaln\u0131zca \u00fcslup kusuru de\u011fil, dikkatli okur i\u00e7in bir kap\u0131 olabilir.<\/span><\/p>\n

Strauss\u2019un \u201csat\u0131r aralar\u0131n\u0131 okumak\u201d dedi\u011fi \u015fey, asl\u0131nda okurun da metne emek vermesini ister. Herkes i\u00e7in yaz\u0131lm\u0131\u015f bir d\u0131\u015f y\u00fcz vard\u0131r; bir de acele etmeyen, metnin nabz\u0131n\u0131 yoklayan okura a\u00e7\u0131lan i\u00e7 y\u00fcz. Bu nedenle Strauss\u2019un kitab\u0131 yaln\u0131zca yazma sanat\u0131 \u00fczerine de\u011fildir; okuma ahlak\u0131 \u00fczerine de bir kitapt\u0131r. Okur, metne h\u00fckmetmeye de\u011fil, onun saklad\u0131\u011f\u0131 zorunlulu\u011fu anlamaya \u00e7a\u011fr\u0131l\u0131r.<\/span><\/p>\n

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Strauss\u2019a g\u00f6re bask\u0131, d\u00fc\u015f\u00fcnceyi b\u00fct\u00fcn\u00fcyle susturamaz; kimi zaman onu daha incelikli, disiplinli ve katmanl\u0131 h\u00e2le getirir.\u00a0<\/span><\/p>\n<\/div>\n

Bu fikir bana \u015funu d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor: Hakikat her zaman d\u00fcz bir yolda y\u00fcr\u00fcmez. Bazen a\u00e7\u0131k alanda de\u011fil, dar ge\u00e7itlerde kendini korur. Bask\u0131, hakikati \u00f6ld\u00fcrmek ister; fakat baz\u0131 zihinlerde onu daha yo\u011fun bir h\u00e2le getirir. D\u0131\u015far\u0131dan bak\u0131ld\u0131\u011f\u0131nda metin sakin g\u00f6r\u00fcn\u00fcr. \u0130\u00e7eride ise kelimeler birbirine yaslanm\u0131\u015f, susarak anla\u015fm\u0131\u015f gibidir.<\/span><\/p>\n

Strauss\u2019un ilgilendi\u011fi isimler de rastlant\u0131 de\u011fildir. Kitapta Maimonides\u2019in Guide for the Perplexed\u2019i, Judah Halevi\u2019nin Kuzari\u2019si ve Spinoza\u2019n\u0131n Theologico-Political Treatise\u2019i gibi metinler \u00fczerinden bu yazma bi\u00e7imi incelenir. Chicago bask\u0131s\u0131n\u0131n i\u00e7indekiler listesi de bu \u00e7izgiyi g\u00f6sterir: giri\u015ften sonra \u201cPersecution and the Art of Writing\u201d, ard\u0131ndan Maimonides, Kuzari ve Spinoza \u00fczerine b\u00f6l\u00fcmler gelir.<\/span><\/p>\n

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Maimonides \u00f6rne\u011fi \u00f6zellikle g\u00fc\u00e7l\u00fcd\u00fcr. \u00c7\u00fcnk\u00fc burada yaln\u0131zca felsefe ile siyaset de\u011fil, ak\u0131l ile vahiy aras\u0131ndaki gerilim de belirgindir. Filozof, dini gelene\u011fin i\u00e7inde konu\u015fur; fakat akl\u0131n sorular\u0131n\u0131 da tamamen susturmaz. \u00d6rne\u011fin, Tanr\u0131\u2019n\u0131n s\u0131fatlar\u0131, mucizeler ya da yarat\u0131l\u0131\u015f\u0131n zaman\u0131 gibi meselelerde, y\u00fczeyde geleneksel inanc\u0131 tekrar ederken, sat\u0131r aralar\u0131nda akl\u0131n kabul edebilece\u011fi daha inceltilmi\u015f yorumlara kap\u0131 aralar. Benzer bi\u00e7imde Spinoza da, teolojik\u2013siyasal tart\u0131\u015fmalar\u0131n ortas\u0131nda, kutsal metnin otoritesi ile felsefi akl\u0131n taleplerini ayn\u0131 anda sahnede tutar; g\u00f6r\u00fcn\u00fcrde vahyi yorumlarken, sat\u0131r aralar\u0131nda siyasal iktidar\u0131n ve din\u00ee kurumlar\u0131n s\u0131n\u0131rlar\u0131n\u0131 sorgular. Her iki d\u00fc\u015f\u00fcn\u00fcrde de, a\u00e7\u0131k\u00e7a kopamazl\u0131k ile tamamen teslim olmama h\u00e2li yan yanad\u0131r. B\u00f6ylece metinler, iki d\u00fcnya aras\u0131nda kurulmu\u015f ince bir k\u00f6pr\u00fcye d\u00f6n\u00fc\u015f\u00fcr. K\u00f6pr\u00fcden herkes ge\u00e7er; ancak herkes ayn\u0131 manzaray\u0131 g\u00f6rmez: Dindar okur gelene\u011fin teyidini, felsefi okur ise bu teyidin i\u00e7ine gizlenmi\u015f ele\u015ftirel ve sorgulay\u0131c\u0131 bak\u0131\u015f\u0131 g\u00f6r\u00fcr.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

Spinoza\u2019da gerilim ba\u015fka bi\u00e7imde belirir. O daha a\u00e7\u0131k, daha sald\u0131rgan, daha modern bir e\u015fikte durur. Yine de Strauss i\u00e7in mesele ayn\u0131d\u0131r: Bir d\u00fc\u015f\u00fcn\u00fcr, h\u00e2kim kanaatlerin ortas\u0131nda neyi ne kadar s\u00f6yleyebilir? Hangi c\u00fcmle kamuya, hangi c\u00fcmle dikkatli okura yaz\u0131lm\u0131\u015ft\u0131r? Bir metnin ger\u00e7ek niyeti, her zaman ilk okunu\u015fta kendini teslim eder mi?<\/span><\/p>\n

Panlektik diliyle s\u00f6ylersek, Strauss burada metni bir \u201cd\u00fc\u011f\u00fcm\u201d gibi okur. D\u00fc\u011f\u00fcm, ilk bak\u0131\u015fta kapal\u0131d\u0131r. Fakat do\u011fru yerinden tutuldu\u011funda yaln\u0131zca \u00e7\u00f6z\u00fclmez; i\u00e7inden ba\u011flam a\u00e7\u0131l\u0131r. Metnin g\u00f6r\u00fcnen anlam\u0131 bir kabuktur. Sakl\u0131 anlam ise o kabu\u011fun alt\u0131nda bekleyen daha hassas bir hareket. Okur o harekete yakla\u015ft\u0131\u011f\u0131nda art\u0131k yaln\u0131zca bilgi alm\u0131yordur; metnin kurdu\u011fu imtihana giriyordur.<\/span><\/p>\n

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Bu y\u00fczden kitap, modern okura da sert bir uyar\u0131 ta\u015f\u0131r. G\u00fcnl\u00fck hayatta nas\u0131l bir haberi yaln\u0131zca ba\u015fl\u0131\u011f\u0131na bak\u0131p ge\u00e7iyor, bir filmi t\u00fcr\u00fcne g\u00f6re (\u201cromantik\u201d, \u201caksiyon\u201d, \u201carthouse\u201d) h\u0131zl\u0131ca kenara itiyor ya da bir insan\u0131 ilk dakikada giyimine g\u00f6re \u201cbizden\u201d ya da \u201cde\u011fil\u201d diye kodluyorsak, metinleri de \u00e7o\u011fu zaman b\u00f6yle fazla h\u0131zl\u0131 t\u00fcketiyoruz. C\u00fcmleleri ger\u00e7ekten ne s\u00f6yledi\u011fini dinleyerek anlamak yerine, zihnimizdeki haz\u0131r klas\u00f6rlere da\u011f\u0131t\u0131yoruz. \u201cDindar\u201d, \u201csek\u00fcler\u201d, \u201cmuhafazak\u00e2r\u201d, \u201cradikal\u201d, \u201crasyonalist\u201d, \u201cmistik\u201d gibi etiketlerle metni bir rafa koyuyor, t\u0131pk\u0131 bir markette \u00fcr\u00fcn\u00fc yaln\u0131zca markas\u0131na veya ambalaj\u0131na bakarak se\u00e7memiz ya da sosyal medyada bir payla\u015f\u0131m\u0131 sadece kimin yapt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcp i\u00e7eri\u011fini okumadan onaylamam\u0131z gibi davran\u0131yoruz. Strauss ise raf\u0131 de\u011fil, \u00e7atla\u011f\u0131 g\u00f6sterir. \u00c7\u00fcnk\u00fc bazen yazar\u0131n as\u0131l s\u00f6z\u00fc, ait g\u00f6r\u00fcnd\u00fc\u011f\u00fc raf\u0131 hafif\u00e7e yerinden oynatmas\u0131nda sakl\u0131d\u0131r; t\u0131pk\u0131 d\u0131\u015far\u0131dan bak\u0131ld\u0131\u011f\u0131nda s\u0131radan g\u00f6r\u00fcnen bir arkada\u015f sohbetinde, tek bir c\u00fcmlenin herkesin al\u0131\u015ft\u0131\u011f\u0131 d\u00fc\u015f\u00fcnme bi\u00e7imini sessizce yerinden oynatmas\u0131 ya da i\u015f yerinde kimsenin sorgulamad\u0131\u011f\u0131 bir kural hakk\u0131nda sorulan basit bir \u201cneden?\u201d sorusunun b\u00fct\u00fcn d\u00fczeni yeniden d\u00fc\u015f\u00fcnd\u00fcrmesi gibi.<\/span><\/p>\n<\/div>\n

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Strauss\u2019un yakla\u015f\u0131m\u0131nda bir tehlike de vard\u0131r: Her metinde gizli anlam aramak okuru paranoyaya s\u00fcr\u00fckleyebilir. Bazen c\u00fcmle ger\u00e7ekten s\u00f6yledi\u011fi \u015feyi ifade eder; her \u00e7eli\u015fki bilin\u00e7li bir i\u015faret, her suskunluk ezoterik bir s\u0131r de\u011fildir. Strauss\u2019un y\u00f6ntemi g\u00fc\u00e7l\u00fcd\u00fcr; ancak \u00f6l\u00e7\u00fcs\u00fcz kullan\u0131l\u0131rsa metni de\u011fil, okurun kendi varsay\u0131mlar\u0131n\u0131 b\u00fcy\u00fct\u00fcr.<\/span><\/p>\n<\/div>\n

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Bu tehlike kitab\u0131n de\u011ferini azaltmaz, okuma disiplinini zorunlu k\u0131lar. Strauss, metnin sakl\u0131 bir anlam\u0131 olabilece\u011fini, ancak bunun keyf\u00ee bi\u00e7imde icat edilemeyece\u011fini s\u00f6yler. Tarih, bask\u0131 ko\u015fullar\u0131, yazar\u0131n dili, tekrar eden gerilimler, d\u00f6nemin ortodoksisi ve metindeki tuhafl\u0131klar birlikte okunmal\u0131d\u0131r. Sakl\u0131 olan sezgiyle de\u011fil, sab\u0131rla bulunur.<\/span><\/p>\n<\/div>\n

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Bana g\u00f6re kitab\u0131n temel iddias\u0131 \u015fudur: Hakikat ile g\u00fcvenlik her zaman \u00f6rt\u00fc\u015fmez. Baz\u0131 d\u00f6nemlerde do\u011fruyu a\u00e7\u0131k\u00e7a s\u00f6ylemek onu yok etme tehlikesi ta\u015f\u0131r. Bu durumda d\u00fc\u015f\u00fcn\u00fcr, hakikati do\u011frudan s\u00f6ylemek yerine metnin i\u00e7ine gizler. Bu gizleme ka\u00e7\u0131\u015f de\u011fil, emanet etme yoludur. Yazar \u00f6l\u00fcr, metin kal\u0131r ve uygun okur geldi\u011finde gizlenen anlam ortaya \u00e7\u0131kar.<\/span><\/p>\n<\/div>\n

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Strauss\u2019un kitab\u0131 yaln\u0131zca eski filozoflar\u0131 anlatmaz. Bug\u00fcn de bask\u0131 alt\u0131nda, ideolojik bask\u0131 ve lin\u00e7 ortamlar\u0131nda ayn\u0131 soru ortaya \u00e7\u0131kar: \u0130nsan hakikati nas\u0131l s\u00f6yler; a\u00e7\u0131k\u00e7a m\u0131, dolayl\u0131 m\u0131, susarak m\u0131, ima ederek mi? Bir di\u011fer soru da \u015fudur: Hakikat, onu duymaya haz\u0131r olmayan ki\u015fiye do\u011frudan s\u00f6ylendi\u011finde ayn\u0131 hakikat olarak kal\u0131r m\u0131?<\/span><\/p>\n<\/div>\n

Bu kitap bence, d\u00fc\u015f\u00fcncenin her zaman a\u00e7\u0131k\u00e7a konu\u015fmad\u0131\u011f\u0131n\u0131; kimi zaman saklanarak, kendini koruyarak yol ald\u0131\u011f\u0131n\u0131 g\u00f6steriyor.<\/span><\/p>\n

Metinler \u00f6nce kapal\u0131 duruyor, fakat okuyucu dikkatini ger\u00e7ekten verdi\u011finde yava\u015f yava\u015f a\u00e7\u0131l\u0131p kendini g\u00f6steriyor.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Leo Strauss\u2019un Persecution and the Art of Writing kitab\u0131, ilk bak\u0131\u015fta \u201cbask\u0131 d\u00f6nemlerinde filozoflar nas\u0131l yazd\u0131?\u201d sorusunu ele al\u0131yor gibi g\u00f6r\u00fcn\u00fcr. Ama metne biraz yakla\u015ft\u0131\u011f\u0131m\u0131zda, meselenin yaln\u0131zca sans\u00fcr olmad\u0131\u011f\u0131 fark edilir. Strauss\u2019un as\u0131l derdi, d\u00fc\u015f\u00fcncenin kendini korumak i\u00e7in nas\u0131l iki katmanl\u0131 bir dille konu\u015ftu\u011fudur: g\u00f6zle g\u00f6r\u00fclen c\u00fcmleler ve onlar\u0131n alt\u0131nda sakl\u0131, sadece dikkatli okura \u00e7arpan […]<\/p>\n","protected":false},"author":1,"featured_media":158,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-157","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yonetimsellik"],"_links":{"self":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/comments?post=157"}],"version-history":[{"count":0,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/157\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media\/158"}],"wp:attachment":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media?parent=157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/categories?post=157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/tags?post=157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}